Professional Documents
Culture Documents
With
Adèle Haenel, Adèle Exarchopoulos, Solène Rigot, Gemma Arterton
Jalil Lespert, Nicolas Duvauchelle, Sergi Lopez
DIRECTOR’S NOTE
Orphan comes from my desire of stepping out of myself. In January 2010, I asked
Christelle Berthevas to put on paper the details concerning her childhood and her youth:
a little girl and a teenager living in the countryside; a young woman moving to Paris; an
adult committed to her couple and her working life. I knew how cruel and dark this
beginning of life had been and I wanted to make the viewer experience a woman’s fight
for her life and her freedom. I make movies in order to experience other lives than mine.
As I was entering for the first time in a woman’s skin, it was important for me to find
inspiration from a real story and not a novel.
Reaching a certain age, one can look back and find out that everything around has
changed. The places, the people, the habits. Our life is made out of several lives. Our being
out of several beings. As the poet Walt Whitman said: “I am large, I contain multitudes”.
The central figure of an autobiographical story can’t be the same whether she’s six,
thirteen, twenty or thirty years old. Therefore, we imagined a film divided in four periods:
childhood, adolescence, youth and adulthood. Just like a Russian doll, Renée must be
opened in order to find Sandra, Sandra to find Karine, Karine to find Kiki, the six years old
little girl whose life turns upside down during an innocent hide-and-seek game. The hard
core of the story. The black sun shining over an entire life.
The spectator will quickly understand the idea of the film: four actresses playing four
periods of a woman’s life. They don’t really look the same. But why make them look the
same when each age likes to claim its identity and define itself in opposition to the
previous one? The coherence of the character is the only thing that matters, its continuity
through four different actresses. It’s like real life, where the woman will be the same and
yet different. “It’s you here, on this picture? I don’t recognize you!” It is her. And it is not
her. Like in real life…
I stand for a cinema that takes the responsibility of representing the world, as close as
possible of reality. A fiction cinema that knows that a certain documentary credibility
guarantees strength and duration to the film. In front of Orphan, I have the feeling I have
put my work into the service of a story that is more than just fiction and that doesn’t
belong to me. The story of a woman’s fight for her life and her freedom.
Born in Paris in 1961, Arnaud des Pallières started drama classes at 16 years old. After
studying literature, he directed several drama plays. As a cinema student, he invited Gilles
Deleuze to present a lecture and shot Gilles Deleuze: What is the Creative Act (1988). He
directed a dozen of short movies including La Mémoire d’un Ange (1989), Before After
(1993), The Red Things (1994). His first feature film, Drancy Avenir (1996), is an
investigation on the extermination of Jews in Paris and its suburbs, carried out nowadays.
He then directed two documentaries for television: Is Dead (Incomplete Portrait of
Gertrud Stein) (1999), a free portrait of Gertrude Stain based on her autobiographic texts,
then Disneyland, My Old Native Land (2001), a nightmarish journey in the famous park.
His second feature, Adieu (2004), starring Michael Lonsdale, Aurore Clément, Olivier
Gourmet, paints the portrait of an unwelcoming France, indifferent to the fate of illegal
immigrants sent back to their home countries. Parc (2008), with Sergi Lopez and Jean-
Marc Barr, adapted from a novel of John Cheever, was selected to compete at the Venice
Mostra. Diane Wellington (2010), which screened in Venice, and American Dust (2011),
chosen to open the International Film Festival of Marseille, were born from American
archive images. Age of Uprising: The Legend of Michael Kohlhaas, with Mads Mikkelsen,
Bruno Ganz and Denis Lavant, adapted from a novel by German author Heinrich von
Kleist, was selected in the Cannes 2013 Official Competition. Orphan, with Adèle Haenel,
Adèle Exarchopoulos, Gemma Arterton and Solène Rigot is his fifth feature.
Arnaud des Pallières writes and edits the films he directs.
FILMOGRAPHY
2016 ORPHAN
2013 AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS
2011 AMERICAN DUST (POUSSIERES D’AMERIQUE)
2010 DIANE WELLINGTON
2008 PARC
2004 ADIEU
2001 DISNEYLAND, MY OLD NATIVE LAND (DISNEYLAND, MON VIEUX PAYS NATAL)
(documentary)
1999 IS DEAD (INCOMPLETE PORTRAIT OF GERTRUD STEIN) (documentary)
1996 DRANCY AVENIR
1994 THE RED THINGS (LES CHOSES ROUGES) (short)
1993 BEFORE AFTER (AVANT APRÈS) (short)
1989 THE MEMORY OF AN ANGEL (LA MÉMOIRE D’UN ANGE) (short)
1988 GILLES DELEUZE: WHAT IS THE CREATIVE ACT? (short)
CHRISTELLE BERTHEVAS
SCREENWRITER’S BIOGRAPHY
Born in 1969, Christelle Berthevas taught literature and culture classes during several
years before training as a scriptwriter. After graduating from the European Conservatory
of Audiovisual Writing, she collaborated for the first time with Arnaud des Pallières on
Age of Uprising: The Legend of Michael Kohlhaas (2013).
For Orphan, she provided the director with autobiographical material. Transforming her
testimony into fiction, the film follows the life story a modern woman. By exposing the
ways in which sexual identity – feminine as well as masculine – is attributed, the film
underlines the diverse ways in which to be a woman.
ADÈLE HAENEL
FLIMOGRAPHY
A coproduction Les Films Hatari, Les Films d'Ici, Arte France Cinéma and Rhône Alpes
Cinéma. With the participation of Le Pacte. In association with Cinémage 5 & 10, Indéfilms
4 and Cinéventure. With the participation of Canal +, Ciné + and Arte France – unité
Cinéma. With the support of Centre National du Cinéma et de l'Image Animée, Ile-de-
France, Rhone-Alpes, Strasbourg Eurométropole, Basse Normandie, Procirep-Angoa,
Media - Program of the European Union.